summer haiku d’été – Minoan Linear A saffron goddess haiku in Linear A, English & French

summer haiku d’été – Minoan Linear A saffron goddess haiku in Linear A, English & French



sea sarai
sapa punikasa
adakisika *

* The Linear A text of this haiku is absolutely beautiful!
Read it for yourself. 

the saffron goddess
her crimson dress
adorned with ivy

la déesse du safran
sa robe cramoisie embellie
de lierre

Richard Vallance

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Translation of Linear B tablet, KN 581a R ? 03, Knossos, by Rita Roberts

Translation of Linear B tablet, KN 581a R ? 03, Knossos, by Rita Roberts:

senryu – an Oscar actress = une comédienne

senryu – an Oscar actress = une comédienne

an Oscar actress 
trips on her train... oops! –
kinda’ trippy eh?



une comédienne
aux Oscars trébuche sur sa traine –
j’ai mon voyage !

Richard Vallance

So many women at this year’s Oscars wore long trains on their dresses that I was afraid someone would trip on one.

Tant de femmes aux Oscars cette année portaient des traines longues aux robes que j’avais vraiment peur qu’une parmi elles aurait pu trébucher !  

summer haiku d’ été − saffron goddess = déesse du safran

summer haiku d’ été − saffron goddess  = déesse du safran

saffron goddess
arrayed in white moiré 
in her sanctuary



déesse du safran
habillée en blanc moiré
dans son sanctuaire

Richard Vallance

Translation of Linear B tablet KN 594 R b 10 on textiles by Rita Roberts

Translation of Linear B tablet KN 594 R b 10 on textiles by Rita Roberts:

Linear A fragment HT 55 (Haghia Triada) RECTO: wool and silk dress of a priestess REVISED

Linear A fragment HT 55 (Haghia Triada) RECTO: wool and silk dress of a priestess:



The RECTO of this fragment probably deals with wool and silk textiles. The word KIRO, which appears to mean “box” or “chest”, may imply that there is a silken garment trimmed with wool in a chest. But there is no way to substantiate this as this is a fragment, and so the words do not necessarily string together in any way which makes any real sense. The fragment may imply that a Minoan priestess is wearing a dress of silk trimmed with wool (hence the instrumental singular for wool), which has been recently stored in or is still stored in a chest to retain its freshness. Notice in the modern recreation photo on the left that the trim on the woman’s dress appears to be of wool. Perhaps she is a priestess of one of the peak sanctuaries. This makes sense, as there were many peak sanctuaries in Minoan Crete. Post revised courtesy of Jean-Philippe Gingras.

Linear A haiku: the saffron goddess, her crimson dress adorned with ivy

Linear A haiku: the saffron goddess, her crimson dress adorned with ivy:

In this haiku, all of the words except sarai = “flax” or “saffron” (the latter in this context) are Mycenaean-derived New Minoan (NM1). The onomatopoeia of the 3 phrases rolls off the tongue. Not only is her dress adorned with ivy, apparently she is as well.

Minoan Costume History synopsis: a wonderful site!

Minoan Costume History synopsis: a wonderful site!



You simply have to check this site out! I have never seen such an in-depth study on Minoan costume, female and male alike, on the Internet. Here is just a small excerpt:

An era of great development, contemporaneous with the civilization of ancient Egypt and Phoenicia, and which may be dated about 2000-1500 B.C., had preceded the civilization that came from Asia Minor into Crete and Greece. Such fragments of Cretan culture as have come down to us reveal a beauty of technique and a delicate sense of form to which no contemporaneous civilization provides any parallel. (italics mine). It is certainly true that the Minoans were far more style-conscious than people of any other contemporaneous civilization, such as the Egyptians, Babylonians, Assyrians and Hittites. No question about it.

Owing to the lack of written records, the processes and methods of manufacture are still wrapped in obscurity, but although we are thus reduced to surmise regarding the materials used, the dress of that time is of the highest interest in view of its connexion with the costumes of other peoples. Our attention is especially attracted by the dress worn by the women. The slim, wiry figures of the men are clothed almost universally with a loincloth, richly patterned and splendidly decorated. Here and there we see wide cloaks that clothe the whole body, giving it a large appearance. Women also, it would seem, wore the short loincloth, but we find them wearing in addition skirts put together in an almost fantastic manner that betrays a highly developed knowledge of the technique of dressmaking. These skirts are constructed in tiers, separated by strips of rich ornamentation. 

Illustrations from this site (there are many more, just as striking as these!)

The lovely Minoan Camp Stool or Footstool Fresco fragment KN 1521 X m 50

The lovely Minoan Camp Stool or Footstool Fresco fragment KN 1521 X m 50:



This is a particularly fascinating fragment. First of all, I never imagined I would ever be able to find a  picture, and better than that, an actual fresco of a Minoan camp stool or footstool. Mais une fois l’affaire cherchée, les voilà trouvés, deux tabourets exquis ! Once searched, once found, two exquisite stools! Just my luck. Secondly, have a look at the scribe’s hand. Beautiful!... especially the way he stylizes NU. Three florid variations on just one syllabogram.  For that matter, the same phenomenon recurs with RA. He must have been in love and wanted to give a least one of the footstools to his darling. Just kidding! Quite impressive and quite an impressive fragment, unique, one of a kind.

Linear B tablet KN 641 R j 02, textiles painted red

Linear B tablet KN 641 R j 02, textiles painted red:



Linear B tablet KN 641 R j 02 repeatedly refers to textiles painted red (3 times) and apparently to textiles painted purple, once only. The word Oapapa appears to be a woman’s name (very likely Minoan), which suits the context quite well. The word kekareareiyo, in the genitive case, also appears to be a type of cloth,  given that it is (probably) followed by the word POpureya (right-truncated after the initial syllabogram PO), meaning that whatever type of cloth it is, it is not purple. The word papeya = farpeia on line 4 is also almost certainly a type of cloth, since it is painted red. The units of textiles referred to are most likely rolls or skeins. Several place names are mentioned, so the textile industry for dying cloth is apparently widespread. The peculiar thing is that the toponyms are all minor place names.